West Coast Connection Forum
DUBCC - Tha Connection => West Coast Classics => Topic started by: D~Nice on July 14, 2008, 11:28:24 PM
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I ain't saying it is dead, but once it is all said and done, what is the label's place in hip hop history. Drop ya 2 cents.
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When i think Aftermath it makes me think of the early 2000s
You had the firs and second Em album dropping( yes in late 90s )
Dre record in nov 99
Then 50 in 03
I think they made a big impact during those years and probably oculd of done a little bit more and released at least one or 2 more artists.
I mean when the roc or def jam was doing big things they were dropping diff artists. Aftermath dropped Dre, eminem and 50 and thats pretty much it the rest dint get too much shine on tv.
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Aftermath should've been on the same level if not bigger than Death Row. Too bad Dre & Em got rich and stopped giving a fuck. They pretty much handed their labels over to 50 in 03 and haven't done shit since.
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Aftermath should've been on the same level if not bigger than Death Row. Too bad Dre & Em got rich and stopped giving a fuck. They pretty much handed their labels over to 50 in 03 and haven't done shit since.
Or Jimmy Iovine. He is fucking up that whole organization right now.
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The only things that will be remembered are 50 Cent's and Dr. Dre's albums.
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Or Jimmy Iovine. He is fucking up that whole organization right now.
Sad, but true.
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20 Great shelved albums (that has 5 versions of Detox) and 10000 Dr. Dre tracks that will not get released.
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Aftermath should've been on the same level if not bigger than Death Row.
No Way!Aftermath?Who?Eminem?Dre (Who Needs 10 Years For An Album) And 50?
C´mon Man!If They Would Have King T, RC, Sharief,etc. Producers Like Mel-Man, Buddha,etc. They Would Make Some Dope Shit But Now?Em,50 And Dre, That´s All.Just My 2 Cents ;)
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Aftermath should've been on the same level if not bigger than Death Row. Too bad Dre & Em got rich and stopped giving a fuck. They pretty much handed their labels over to 50 in 03 and haven't done shit since.
Or Jimmy Iovine. He is fucking up that whole organization right now.
Whoever is responsible fact is Aftermath will never be looked upon as a rap powerhouse. With talented artists and Dre at the head of a company that's being backed by Interscope one would think Aftermath should be right up there with DR, Cash Money, Bad Boy, No Limit and Bad Boy.
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Or Jimmy Iovine. He is fucking up that whole organization right now.
Sad, but true.
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I ain't saying it is dead, but once it is all said and done, what is the label's place in hip hop history. Drop ya 2 cents.
they brought two classic albums, 2001 and The Marshall Mathers LP.
anyway, as i once said in one of my first posts, it started off wrong with the joint feature and it got worse when Dre sold his 30% share of aftermath to interscope.
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They released one of the best albums ever made (2001) and other great albums (The Documentary, Get Rich Or Die Tryin etc..)
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oh well, at least bishop spent some of the album budget (provided by interscope), on 4 street albums :cheers: ;D
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Damn, has everyone gone insane? Aftermath is probably in the top 3 greatest HipHop labels ever, and they're easily one of the biggest selling, Eminem, Dre, 50 Cent - those are three of the biggest HipHop artists ever! Who sold big AND are critically acclaimed
Aftermath has sold more records than Death Row by a large margin - 50 sold about 25 million, Eminem about 45 million, Dre sold 6 million of 2001... compared with Death Row selling 3 million of the Chronic, Doggystyle 4 million, and 2Pac about 15 million
Death Row had more 'classic' stuff, though only thanks to Dre anyway... and Eminem's first two records, 2001, and 50's first record are all highly acclaimed
Bad Boy sold a lot, but is a 99% a joke in terms of credibility (apart from Biggie), same with No Limit, they don't have any really classic stuff
The only label that probably beats both Aftermath and Death Row is Def Jam just because they have so many classic records and had such a huge influence in getting HipHop onto the level it is now
I'm probably forgetting some labels off the top of my head, but Aftermath is definitely up there
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Damn, has everyone gone insane? Aftermath is probably in the top 3 greatest HipHop labels ever, and they're easily one of the biggest selling, Eminem, Dre, 50 Cent - those are three of the biggest HipHop artists ever! Who sold big AND are critically acclaimed
Aftermath has sold more records than Death Row by a large margin - 50 sold about 25 million, Eminem about 45 million, Dre sold 6 million of 2001... compared with Death Row selling 3 million of the Chronic, Doggystyle 4 million, and 2Pac about 15 million
Death Row had more 'classic' stuff, though only thanks to Dre anyway... and Eminem's first two records, 2001, and 50's first record are all highly acclaimed
Bad Boy sold a lot, but is a 99% a joke in terms of credibility (apart from Biggie), same with No Limit, they don't have any really classic stuff
The only label that probably beats both Aftermath and Death Row is Def Jam just because they have so many classic records and had such a huge influence in getting HipHop onto the level it is now
I'm probably forgetting some labels off the top of my head, but Aftermath is definitely up there
nah i'm just being totally honest.
if you compare aftermath ( as a business ) with Ruthless Records (before it got out of hand) then i'd say aftermath is a joke.
there was some good music being made, but i wouldn't really credit the label for that.
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Up In Smoke & Anger Management tours, they appeared quite big in terms of hip hop shows/sound quality. I've only been to ones with turntables, mics, DJs, MCs & shitty sound systems.
If in the future their unreleased catalogue gets released, that could be a good legacy. Especially if Dre keeps 'updating' it when new equipment/techniques become available to him or whoever he leaves the masters to. Hopefully more than just rich people would be able to listen to it.
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Anyone who thinks Aftermath will leave a lasting legacy is confusing the label with the individuals Dre, Eminem and 50.
Dr Dre, without question, will go down in the hip-hop history books. It's a pretty sure thing that Eminem and 50 will too. '2001', 'The Marshall Mathers LP' and 'Get Rich or Die Tryin'' will all probably stand the test of time.
But when - if - anyone thinks about the label behind those releases, they'll think of Interscope, not Aftermath.
What made labels such as Death Row, Bad Boy and No Limit were that they were movements as much as companies. When you think of any one of those names, for better or worse, you think about more than the music. Think Death Row, think Suge Knight and the logo swinging on chains; think Bad Boy, think a new era in commercial hip-pop and Puffy's shift into mass market culture; think No Limit, think of Master P's relentless work ethic and 'conveyor belt' approach to releasing music. You can argue that none of those labels put out a record that impacted hip-hop as much as '2001', but from a corporate perspective they changed and broke the rules about how a hip-hop record company functions.
What does Aftermath have in that respect? Little. It's essentially a vanity label for Dre that he's now largely sold back to Interscope from what I understand. It's not a movement, it's not a name that gets regularly shouted out by artists on its records. It's a logo. Three great albums don't make a great label - they just make three great albums.
That's not neccessarily a bad thing. Dre doesn't need Aftermath to have as a legacy. He's Dr Dre.
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As far as mainstream goes it has to be up there in terms of impact. I wouldn't put it higher then vintage Def Jam or Deathrow but it's up there that is for sure.
Think about some of the biggest mainstream albums since 1999....Chronic 2001, Slim Shady LP/MMLP, GRODT.
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Anyone who thinks Aftermath will leave a lasting legacy is confusing the label with the individuals Dre, Eminem and 50.
Dr Dre, without question, will go down in the hip-hop history books. It's a pretty sure thing that Eminem and 50 will too. '2001', 'The Marshall Mathers LP' and 'Get Rich or Die Tryin'' will all probably stand the test of time.
But when - if - anyone thinks about the label behind those releases, they'll think of Interscope, not Aftermath.
What made labels such as Death Row, Bad Boy and No Limit were that they were movements as much as companies. When you think of any one of those names, for better or worse, you think about more than the music. Think Death Row, think Suge Knight and the logo swinging on chains; think Bad Boy, think a new era in commercial hip-pop and Puffy's shift into mass market culture; think No Limit, think of Master P's relentless work ethic and 'conveyor belt' approach to releasing music. You can argue that none of those labels put out a record that impacted hip-hop as much as '2001', but from a corporate perspective they changed and broke the rules about how a hip-hop record company functions.
What does Aftermath have in that respect? Little. It's essentially a vanity label for Dre that he's now largely sold back to Interscope from what I understand. It's not a movement, it's not a name that gets regularly shouted out by artists on its records. It's a logo. Three great albums don't make a great label - they just make three great albums.
That's not neccessarily a bad thing. Dre doesn't need Aftermath to have as a legacy. He's Dr Dre.
great post, +1
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Damn, has everyone gone insane? Aftermath is probably in the top 3 greatest HipHop labels ever, and they're easily one of the biggest selling, Eminem, Dre, 50 Cent - those are three of the biggest HipHop artists ever! Who sold big AND are critically acclaimed
Aftermath has sold more records than Death Row by a large margin - 50 sold about 25 million, Eminem about 45 million, Dre sold 6 million of 2001... compared with Death Row selling 3 million of the Chronic, Doggystyle 4 million, and 2Pac about 15 million
Death Row had more 'classic' stuff, though only thanks to Dre anyway... and Eminem's first two records, 2001, and 50's first record are all highly acclaimed
Bad Boy sold a lot, but is a 99% a joke in terms of credibility (apart from Biggie), same with No Limit, they don't have any really classic stuff
The only label that probably beats both Aftermath and Death Row is Def Jam just because they have so many classic records and had such a huge influence in getting HipHop onto the level it is now
I'm probably forgetting some labels off the top of my head, but Aftermath is definitely up there
nah i'm just being totally honest.
if you compare aftermath ( as a business ) with Ruthless Records (before it got out of hand) then i'd say aftermath is a joke.
there was some good music being made, but i wouldn't really credit the label for that.
Though I'd have thought as a business, that's where they were really, really good - they sold as much or more than anyone else, and from fewer albums!
Anyone who thinks Aftermath will leave a lasting legacy is confusing the label with the individuals Dre, Eminem and 50.
I actually agree with a lot of what you said in your post, but I'm gonna play devil's advocate for a second and argue against you
What made labels such as Death Row, Bad Boy and No Limit were that they were movements as much as companies. When you think of any one of those names, for better or worse, you think about more than the music. Think Death Row, think Suge Knight and the logo swinging on chains; think Bad Boy, think a new era in commercial hip-pop and Puffy's shift into mass market culture; think No Limit, think of Master P's relentless work ethic and 'conveyor belt' approach to releasing music.
This is true, they were more movements and Death Row gets points because it was the first to do that kind of crime family thing on a big level. Although, Death Row's legacy is that it was a great label that crumbled very quickly and became a joke for several years, with the only famous guy on the label being a guy who doesn't make music (Suge), Death Row's legacy is leaving other labels a lesson in what not to do... it's legacy is "how to really fuck up a great thing by letting someone non-musical be in charge of musical decisions"
Bad Boy's legacy is Biggie Smalls, and a load of terrible Puffy produced records, it's legacy is "how to get a jump start as a label by having one of the best MCs ever, and then putting out only flash-in-the pan hip-pop records for the remainder as your time as a label
No Limit's legacy is "hey, 2Pac died and there's no one out there to fill the 'thug' persona role he created, let's cash in now! And then churn out a million mediocre or awful records". The problem with both Bad Boy and No Limit is they're both seen as hack labels run by people who are good businessmen and know what sells, but who aren't musical geniuses
What does Aftermath have in that respect? Little. It's essentially a vanity label for Dre
Not really, it was a new model based on the mistakes of Death Row... it let Dre be in charge of the music and Jimmy be in charge of the business. Instead of Dre being pushed into the role of house producer while Suge makes deals to do soundtracks with a bunch of filler and puts tracks from one project onto another project and keeps signing more and more people, it let Dre choose who came to the label, and it let him be in control of the musical side of the projects
it's not a name that gets regularly shouted out by artists on its records.
It's shouted out a lot on Dre's record, and 50 and Eminem often shout out Aftermath and Shady
Aftermath's legacy is showing how if you take one musical genius, give him most of the control over the actual music and sign people he thinks are talented, then you will all make a lot of money and become the biggest artists in the world
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Damn, has everyone gone insane? Aftermath is probably in the top 3 greatest HipHop labels ever, and they're easily one of the biggest selling, Eminem, Dre, 50 Cent - those are three of the biggest HipHop artists ever! Who sold big AND are critically acclaimed
Aftermath has sold more records than Death Row by a large margin - 50 sold about 25 million, Eminem about 45 million, Dre sold 6 million of 2001... compared with Death Row selling 3 million of the Chronic, Doggystyle 4 million, and 2Pac about 15 million
Death Row had more 'classic' stuff, though only thanks to Dre anyway... and Eminem's first two records, 2001, and 50's first record are all highly acclaimed
Bad Boy sold a lot, but is a 99% a joke in terms of credibility (apart from Biggie), same with No Limit, they don't have any really classic stuff
The only label that probably beats both Aftermath and Death Row is Def Jam just because they have so many classic records and had such a huge influence in getting HipHop onto the level it is now
I'm probably forgetting some labels off the top of my head, but Aftermath is definitely up there
nah i'm just being totally honest.
if you compare aftermath ( as a business ) with Ruthless Records (before it got out of hand) then i'd say aftermath is a joke.
there was some good music being made, but i wouldn't really credit the label for that.
Though I'd have thought as a business, that's where they were really, really good - they sold as much or more than anyone else, and from fewer albums!
i'd give interscope credit for that, not Aftermath.
What does Aftermath have in that respect? Little. It's essentially a vanity label for Dre
Not really, it was a new model based on the mistakes of Death Row... it let Dre be in charge of the music and Jimmy be in charge of the business. Instead of Dre being pushed into the role of house producer while Suge makes deals to do soundtracks with a bunch of filler and puts tracks from one project onto another project and keeps signing more and more people, it let Dre choose who came to the label, and it let him be in control of the musical side of the projects
on that part Dre doesn't have full control.
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aftermath will be remembered for releasing a few really dope albums and not very much else. those who follow the situation closely will know that aftermath is more of an exclusive club where artists sit on the shelf and get all excited about working with dr. dre then never drop an album and leave the label (after several years). this aint neccesarily dre's fault directly but its a fact that the label has never put out any decent quantity of albums in any one prolonged spell.
so releasing records to the public isn't much of a concern but if a project is somehow worked on endlessly enough and is actually gonna get released, its only gonna get butchered by jimmy anyway (ie busta). this wasn't always the case but these days its dried up massively. for that reason it seems like a bit of a pointless exercise, especially as new artists keep getting brought in. theres no doubt that lot of good music is made, theres just a slim chance of us ever hearing much of it...
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it doesn't have that raw uncut talent that death row(92-96)had. if he had kept king t,and signed niggas like knoc turn al, timebomb, xzibit,jayo felony,snoop dogg,tha dogg pound and kept rbx he woulda exceeded death row and would have a legacy. he just need to get rid of the clutter over there and start fresh(artist wise). i'm waiting to see what he's gonna do wit the d.o.c.'s upcoming album.
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I think beyond all the BS, Aftermath will be in the history books. Dre isn't a businessman and he's fairly quiet with his. For all the noise they make and major deals they broker, how many Eminem's and 50 Cent's have Jay-Z and Diddy brought to the table in the last 8 years? For a guy as big as Dre is to not be the biggest artist on his label says something. He's much more of an artist than Puffy but he doesn't try to play the spotlight. Eminem and 50 Cent are bigger stars than Dre. I'll give Jay-Z credit for Kanye but Jay was still the bigger star. Aftermath has 4 Eminem albums that pushed millions, 50's debut was the biggest one in rap ever, and Game did major numbers on his. If Interscope could have got that kind of buzz without Aftermath, they would have. There's a reason Jimmy paid Dre a fortune for those shares. People might throw out all these artists who've been shelved and dropped as some kind of counterpoint but every label does it and none of them can match the results with what's been put out. Strictly on artist-based success, you take Diddy, Jay-Z, 50 Cent, Eminem, Snoop Dogg, and these other artist/producers running labels and whether it's joint venture with another label or on their own, how many of them have used their own name value to push a star up higher than they were? Not many examples I can think of.
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it doesn't have that raw uncut talent that death row(92-96)had. if he had kept king t,and signed niggas like knoc turn al, timebomb, xzibit,jayo felony,snoop dogg,tha dogg pound and kept rbx he woulda exceeded death row and would have a legacy. he just need to get rid of the clutter over there and start fresh(artist wise). i'm waiting to see what he's gonna do wit the d.o.c.'s upcoming album.
Disagree. West Coast fans would have loved that roster no doubt but the critics would have dismissed it after awhile as being the same shit he did at Death Row. He had a heavy hand in Xzibit's career as it was for a couple years. Of those rappers you named, none of them would have been Eminem or 50 Cent as far as sales go. People can argue that sales aren't everything but Eminem and 50 are a huge part of the reason that people are still checking for Dre outside of the L.A. area.
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Anyone who thinks Aftermath will leave a lasting legacy is confusing the label with the individuals Dre, Eminem and 50.
Dr Dre, without question, will go down in the hip-hop history books. It's a pretty sure thing that Eminem and 50 will too. '2001', 'The Marshall Mathers LP' and 'Get Rich or Die Tryin'' will all probably stand the test of time.
But when - if - anyone thinks about the label behind those releases, they'll think of Interscope, not Aftermath.
What made labels such as Death Row, Bad Boy and No Limit were that they were movements as much as companies. When you think of any one of those names, for better or worse, you think about more than the music. Think Death Row, think Suge Knight and the logo swinging on chains; think Bad Boy, think a new era in commercial hip-pop and Puffy's shift into mass market culture; think No Limit, think of Master P's relentless work ethic and 'conveyor belt' approach to releasing music. You can argue that none of those labels put out a record that impacted hip-hop as much as '2001', but from a corporate perspective they changed and broke the rules about how a hip-hop record company functions.
What does Aftermath have in that respect? Little. It's essentially a vanity label for Dre that he's now largely sold back to Interscope from what I understand. It's not a movement, it's not a name that gets regularly shouted out by artists on its records. It's a logo. Three great albums don't make a great label - they just make three great albums.
That's not neccessarily a bad thing. Dre doesn't need Aftermath to have as a legacy. He's Dr Dre.
great post, +1
Preach!
i really couldnt have said it better myself.
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Aftermath will be remembered as one of the greatest hip-hop labels of all time.
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em -dre-fifty all at their best, but im afraid that era was quickly vanished. apperantly now ''lil wayne is the best rapper alive''
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Will be remembered as Dre biggest mistake, if nothing good happens in the next couple years. Damn, they really fell of hard after "2001"
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I'm a little surprised at how little love the label is getting in this thread.
Take a look at this link:
http://www.aftermathmusic.com/vs2008/_store/index.html
Those are the releases associated with Aftermath. That list doesn't include Devil's Night (indisputably classic in my opinion), Obie's two releases (also classics in my opinion), G-Unit's Beg For Mercy and T.O.S. (best group efforts in the industry, I'd have to say, in many many years). Also, Bank's first and second LPs (has there been a better mainstream single that's got a heater for a beat and is more lyrical than I'm So Fly), Buck's first and second LPs....and say what you want about Yayo, there are a couple bangers on his LP (I Know You Don't Love Me, So Seductive, Live By The Gun). Also, Game might never have seen mainstream release and the recording budget he got without Aftermath (and let's be real, 50 providing the song structure he needed to blow). So without the label we might never have seen Doctor's Advocate and now LAX.
Also, the label embraced the mixtape game via 50 who singlehandedly resurrected it. Does everyone remember Invasion 1,2 and 3 that Green Lantern dropped? You had Aftermath artists (50 and Eminem, primarily, D12 to a lesser degree) revolutionizing the quality of mixtape music available for the public ear for free. And they brought it to their enemies on those mixtapes...even going as far as LETTING YOU HEAR THE OPPOSITION'S DISSES ON THEIR OWN MIXTAPE so you could compare the two. That's sick.
There hasn't been a more successful run by any rap label, bar none. That's just my 2 Cents.
That's one hell of a 9 yr run. I bump all that sh*t.
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Anyone who thinks Aftermath will leave a lasting legacy is confusing the label with the individuals Dre, Eminem and 50.
I actually agree with a lot of what you said in your post, but I'm gonna play devil's advocate for a second and argue against you
What made labels such as Death Row, Bad Boy and No Limit were that they were movements as much as companies. When you think of any one of those names, for better or worse, you think about more than the music. Think Death Row, think Suge Knight and the logo swinging on chains; think Bad Boy, think a new era in commercial hip-pop and Puffy's shift into mass market culture; think No Limit, think of Master P's relentless work ethic and 'conveyor belt' approach to releasing music.
...The problem with both Bad Boy and No Limit is they're both seen as hack labels run by people who are good businessmen and know what sells, but who aren't musical geniuses
I think almost all your points here are valid, but the thing about that last comment is that it's not actually a problem.
There's no reason anyone should expect the head of a record label to be a "musical genius" - business know-how is much more important. Look at EMI, a major record label in the UK - it struggled for years in the face of a failing music industry. Last year it was bought by Terra Firma, a private equity firm run by a guy known for cost-cutting and turnaround skills, and now their profits are up by £100m (http://www.guardian.co.uk/business/2008/jul/15/emi)
It's doubtful EMI would be in that position if Guy Hands at Terra Firma had asked Robbie Williams or Coldplay's Chris Martin to help him oversee the label because they were successful artists...The kind of skills you need to run a record label are completely different to the kind of skills to produce that label's product. So while you say that the 'problem' with Bad Boy and No Limit was that they were run by good businessmen who werent musical geniuses, I'd argue that the problem with Aftermath is that it's run by a musical genius who's not a good businessman... Dre will always be known for the quality of his music, but I simply don't believe that Aftermath has acheived, on a corporate and business level, what something like No Limit did, regardless of how much better the end product is.
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So while you say that the 'problem' with Bad Boy and No Limit was that they were run by good businessmen who werent musical geniuses, I'd argue that the problem with Aftermath is that it's run by a musical genius who's not a good businessman... Dre will always be known for the quality of his music, but I simply don't believe that Aftermath has acheived, on a corporate and business level, what something like No Limit did, regardless of how much better the end product is.
Well no, Aftermath has a musical genius at the top in charge of making sure the product is good, and a business genius, Jimmy, making sure it sells, so it has both
Bad Boy and No Limit both had the business side down and not the musical side down, so they're inferior... and Aftermath has sold as much or more than them. I don't see how you and others can say that Aftermath is not a good business - they pretty much have only released hugely popular and high selling records - Eminem's albums, 50 Cent's, Dre's - those were some of the highest selling records ever, so what are they doing wrong as a business?
Some people are saying that it's a label where artists go to sit on the shelf or don't bring out an album - but that's a good business move! You don't spend shitloads on promotion if an album will flop, and Dre and Jimmy have made a loooad of great choices which have worked so far - they have sold millions and been critically acclaimed - No Limit didn't do that, and Bad Boy didn't do that... Death Row did that for 2-3 albums before it collapsed because the business man was taking up too much control on the music side, instead of letting the musical genius handle that mostly
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped - if he'd let those albums come out Aftermath would have been in way worse shape... but instead he put out Eminem and 50 Cent - you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
For all the noise they make and major deals they broker, how many Eminem's and 50 Cent's have Jay-Z and Diddy brought to the table in the last 8 years? For a guy as big as Dre is to not be the biggest artist on his label says something. He's much more of an artist than Puffy but he doesn't try to play the spotlight. Eminem and 50 Cent are bigger stars than Dre. I'll give Jay-Z credit for Kanye but Jay was still the bigger star. Aftermath has 4 Eminem albums that pushed millions, 50's debut was the biggest one in rap ever, and Game did major numbers on his. If Interscope could have got that kind of buzz without Aftermath, they would have. There's a reason Jimmy paid Dre a fortune for those shares. Strictly on artist-based success, you take Diddy, Jay-Z, 50 Cent, Eminem, Snoop Dogg, and these other artist/producers running labels and whether it's joint venture with another label or on their own, how many of them have used their own name value to push a star up higher than they were? Not many examples I can think of.
Exactly - Aftermath has successfully brought out 2-3 of the biggest stars in HipHop, ever, since it started, and has been critically acclaimed every step of the way - who else has done that?
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I think they have to go down in the record books as one of the greatest labels of all time. And not only that, their vaults have got to have to dope unreleased albums as well. I would like to hear ANYTHING Rakim did from that Oh My God album. That would have been one of the most anticipated albums of all time and maybe one of the best if it had dropped. But oh well. I did the thread because it seems like it is the in thing to diss that label, but don't get it twisted, they did their thing.
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Will be remembered as Dre biggest mistake, if nothing good happens in the next couple years. Damn, they really fell of hard after "2001"
Fell off hard? Their biggest success came after that album dropped. I'd love for my biggest mistake to be albums like "Marshall Mathers LP", "Get Rich Or Die Tryin" and "The Documentary".
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They were a powerhouse from 99-03. Then Dre and Em stopped caring/got older and 50 got all the money he wanted/ became a business man.
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D12World (indisputably classic in my opinion), Obie's two releases (also classics in my opinion), G-Unit's Beg For Mercy and T.O.S. (best group efforts in the industry, I'd have to say, in many many years).
:laugh:
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So while you say that the 'problem' with Bad Boy and No Limit was that they were run by good businessmen who werent musical geniuses, I'd argue that the problem with Aftermath is that it's run by a musical genius who's not a good businessman... Dre will always be known for the quality of his music, but I simply don't believe that Aftermath has acheived, on a corporate and business level, what something like No Limit did, regardless of how much better the end product is.
Well no, Aftermath has a musical genius at the top in charge of making sure the product is good, and a business genius, Jimmy, making sure it sells, so it has both
Bad Boy and No Limit both had the business side down and not the musical side down, so they're inferior... and Aftermath has sold as much or more than them. I don't see how you and others can say that Aftermath is not a good business - they pretty much have only released hugely popular and high selling records - Eminem's albums, 50 Cent's, Dre's - those were some of the highest selling records ever, so what are they doing wrong as a business?
Some people are saying that it's a label where artists go to sit on the shelf or don't bring out an album - but that's a good business move! You don't spend shitloads on promotion if an album will flop, and Dre and Jimmy have made a loooad of great choices which have worked so far - they have sold millions and been critically acclaimed - No Limit didn't do that, and Bad Boy didn't do that... Death Row did that for 2-3 albums before it collapsed because the business man was taking up too much control on the music side, instead of letting the musical genius handle that mostly
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped - if he'd let those albums come out Aftermath would have been in way worse shape... but instead he put out Eminem and 50 Cent - you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
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D12World (indisputably classic in my opinion), Obie's two releases (also classics in my opinion), G-Unit's Beg For Mercy and T.O.S. (best group efforts in the industry, I'd have to say, in many many years).
:laugh:
My bad..meant to say Devil's Night, not D12World....hopefully that's what you found funny!
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Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
You sure, where does it say that? I thought Dre saw the early reviews for King T's album and they decided to shelve it... and after Hittman wasn't getting too much buzz after 2001 they shelved that too
Will be remembered as Dre biggest mistake, if nothing good happens in the next couple years. Damn, they really fell of hard after "2001"
Fell off hard? Their biggest success came after that album dropped. I'd love for my biggest mistake to be albums like "Marshall Mathers LP", "Get Rich Or Die Tryin" and "The Documentary".
Exactly, people confuse 'falling off' with 'haven't dropped anything in a minute' - but I'd rather they take their time and release the same quality has they have done rather than dropping something wack and actually falling off
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Will be remembered as Dre biggest mistake, if nothing good happens in the next couple years. Damn, they really fell of hard after "2001"
Fell off hard? Their biggest success came after that album dropped. I'd love for my biggest mistake to be albums like "The Marshall Mathers LP", "Get Rich Or Die Tryin" and "The Documentary".
Just because they were successful doesn´t mean they also did good albums ;) Ok, no doubt that the "The Marshall Mathers LP" was really good, probably Em´s best album. "Get Rich..." was a nice mainstream album, but overall nothing special and "The Documentary" is overated IMO (and I´m saying that as a Game fan). People just like "The Documentary" that much beacuse Dre did some joints.
What I really meant when I said it was his biggest misstake was that Dre gave the whole power over Aftermath to Jimmy Iovine. Everything Jimmy says is word. With people like Rakim, Game, Bishop, Busta, Em, Stat and Eve on Aftermath it would have been easily the best and the most powerful label in todays Hip-Hop, but with all those drops from the label and all the albums we are waiting for years, it´s far away from beeing the best labels. I really hope for Dre that he get out the contract with Interscope after "Detox" so that he can founds a new label where nobody tell him what he has to do and what not
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Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
You sure, where does it say that? I thought Dre saw the early reviews for King T's album and they decided to shelve it... and after Hittman wasn't getting too much buzz after 2001 they shelved that too
well it's in the dr.dre biography book by Ronin Ro ( the book sometimes quotes stuff, so i can't remember the original sources)
yeah it mentions the reviews too, but interscope rejected the singles from thy Kingdom come; Dre wanted to give it another try to please interscope but King T didn't so they parted ways.
as far as hittman is concerned, let's just say that Aftermath/Interscope and Hittman were not on the same page.
Hittman sort of confirms that in interviews ( he did one with dubcnn, but i'm not sure if that one is related to this).
Chad Vader posted scans of the interview with the source, maybe it's in there.
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shiiit i just made such a long post for this but then wasnt feeling it and deleted the whole muthafucker...and posted this shit in instead....pshhhh lol
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Just because they were successful doesn´t mean they also did good albums ;) Ok, no doubt that the "The Marshall Mathers LP" was really good, probably Em´s best album. "Get Rich..." was a nice mainstream album, but overall nothing special and "The Documentary" is overated IMO (and I´m saying that as a Game fan). People just like "The Documentary" that much beacuse Dre did some joints.
Well, everyone's gonna have a different view of what is good. Fact is they were commercially and critically received as being the biggest albums of the year. Their success continued to cement Dre's repuation as being the best producer in hip-hop. Aftermath was responsible for the music.
What I really meant when I said it was his biggest misstake was that Dre gave the whole power over Aftermath to Jimmy Iovine. Everything Jimmy says is word. With people like Rakim, Game, Bishop, Busta, Em, Stat and Eve on Aftermath it would have been easily the best and the most powerful label in todays Hip-Hop, but with all those drops from the label and all the albums we are waiting for years, it´s far away from beeing the best labels. I really hope for Dre that he get out the contract with Interscope after "Detox" so that he can founds a new label where nobody tell him what he has to do and what not
Jimmy always had the power. That never changed. Dre was never the business man in the equation. He was the hit maker. Even these labels like Roc-A-Fella, Death Row, and Murder Inc. that had both business-savy heads (Irv, Suge, Dame) and music people (Ja, Dre, Jay) were still answering to Interscope and Def Jam. The same way Cadillac Tah rode the bench while Ashanti put out album after album, King T or Rakim were shelved for Eminem and 50. That's just how it happens. Every ones of these labels during their hot period was answering to the major that was putting their album in stores. The reason we are waiting on these albums is because Dre takes his time with them. No matter where he goes, that's unlikely to change. What labels do you think are the best by the way?
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Aftermath have been crazy succesful, you can't deny that. I tihnk the only difference with Aftermaths legacy when compared to Death Row, No Limit, Rocafella or Bad Boy is that Aftermath never really had a movement associated with it, didn't have wild cunts riding out for them constantly shouting out their name etc. Aftermath does have a sorta specific sound though and thats that dre/em dark sound that changed the game...
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D12World (indisputably classic in my opinion), Obie's two releases (also classics in my opinion), G-Unit's Beg For Mercy and T.O.S. (best group efforts in the industry, I'd have to say, in many many years).
:laugh:
My bad..meant to say Devil's Night, not D12World....hopefully that's what you found funny!
Still :laugh:
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D12World (indisputably classic in my opinion), Obie's two releases (also classics in my opinion), G-Unit's Beg For Mercy and T.O.S. (best group efforts in the industry, I'd have to say, in many many years).
:laugh:
My bad..meant to say Devil's Night, not D12World....hopefully that's what you found funny!
Still :laugh:
Devil's Night is dope...give it a listen again. Dope Dre productions, Em comes raw on it, and the other dudes carry their weight too (even if you don't know their names)
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it doesn't have that raw uncut talent that death row(92-96)had. if he had kept king t,and signed niggas like knoc turn al, timebomb, xzibit,jayo felony,snoop dogg,tha dogg pound and kept rbx he woulda exceeded death row and would have a legacy. he just need to get rid of the clutter over there and start fresh(artist wise). i'm waiting to see what he's gonna do wit the d.o.c.'s upcoming album.
Disagree. West Coast fans would have loved that roster no doubt but the critics would have dismissed it after awhile as being the same shit he did at Death Row. He had a heavy hand in Xzibit's career as it was for a couple years. Of those rappers you named, none of them would have been Eminem or 50 Cent as far as sales go. People can argue that sales aren't everything but Eminem and 50 are a huge part of the reason that people are still checking for Dre outside of the L.A. area.
yeah but do you think snoop, tha dogg pound,and others on death row at the time woulda sold records if it wasn't for dre being there? no. what i'm sayin' is anything dre puts him stamp on people tend to gravitate towards. 5-0 was a no name nigga and look what dre and em did for his career: made him a household name.
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yeah but do you think snoop, tha dogg pound,and others on death row at the time woulda sold records if it wasn't for dre being there? no. what i'm sayin' is anything dre puts him stamp on people tend to gravitate towards. 5-0 was a no name nigga and look what dre and em did for his career: made him a household name.
50 Cent had a lot of things going for him when his debut dropped. He didn't sell a million plus the first week, simply off the strength of Eminem and Dre. If it were as easy as that, every artist they put out would be doing those numbers. When 50 Cent came out, he had it covered in many areas. He had a compelling story that people were interested in. He had an underground audience through the mixtape circuit. He was going at Ja Rule who a lot of fans were sick of. Dre was a contributing factor unquestionably but as good as he is, he wouldn't have sold like that with Dogg Pound or Knoc-Turn'al.
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yeah but do you think snoop, tha dogg pound,and others on death row at the time woulda sold records if it wasn't for dre being there? no. what i'm sayin' is anything dre puts him stamp on people tend to gravitate towards. 5-0 was a no name nigga and look what dre and em did for his career: made him a household name.
50 Cent had a lot of things going for him when his debut dropped. He didn't sell a million plus the first week, simply off the strength of Eminem and Dre. If it were as easy as that, every artist they put out would be doing those numbers. When 50 Cent came out, he had it covered in many areas. He had a compelling story that people were interested in. He had an underground audience through the mixtape circuit. He was going at Ja Rule who a lot of fans were sick of. Dre was a contributing factor unquestionably but as good as he is, he wouldn't have sold like that with Dogg Pound or Knoc-Turn'al.
5-0 sold on the strength of being affiliated with dre and em. how many of y'all gave a fuck about around 1999-200? nobody. dre could produce a frog and make it go platinum.
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5-0 sold on the strength of being affiliated with dre and em. how many of y'all gave a fuck about around 1999-200? nobody. dre could produce a frog and make it go platinum.
If it was just strength of affiliation, why is Stat Quo signed to the same Shady/Aftermath/Interscope machine and hasn't been put out for four years? Why did 50 come out before Obie? He had the whole package as far as marketing goes. Dre and Eminem were a big part in it but they weren't the only factor. 50 Cent wasn't just some talentless bum who got lucky and had the biggest fucking album in the world.
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I really hope for Dre that he get out the contract with Interscope after "Detox"
so that he can founds a new label where nobody tell him what he has to do and what not.
....or before ;)
I'm little tired of Aftermath and the whole drama around them, :P
as many has pointed out before,Jimmy interferes too much with the creative side of things.
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped
- if he'd let those albums come out Aftermath would have been in way worse shape...
but instead he put out Eminem and 50 Cent
- you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
The label (and the industry as a whole) got too obsessed with the "block buster mentality" :-\(read; first week sales), :-\
that anything that might get looked as a flop would damage the "block buster legacy" Aftermath got. :P
But I believe that in the long run,releasing some albums that don't have that "block buster stamp" over them would actually benefit them.
Look at Ruthless,Above The Law and Ren´s solo releases was never a big success. Bone Thugs and Eazy took care of the "block buster" numbers.
Never the less Above The Law and Ren´s solo albums was fan favorites that took care of the Ruthless legacy of putting out "quality" music.
Hittman and King T could be one of those type of artists,
as far I'm concerned I think the "unreleased" Hittman and King T album is amongst the top five album from the "Aftermath Camp".
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
This fit here and now that it seems too be "confirmed" by "official" source´s I might as well post it here;
Busta Rhymes off the Math
July 17th, 2008 by admin
http://www.aftermathmusic.com/blog/?p=50
It’s official - Busta Rhymes got dropped from Interscope/Aftermath. It was reported that Busta Rhymes was dropped from Interscope due to a heated argument with Jimmy Iovine. He later confirmed that the album would be released in late September on Aftermath. www.Aftermathmusic.com contacted the general manager of Aftermath.
“Yes, it’s true. He got dropped.”, so the General Manager of Aftermath.
“Blessed” is scheduled to release in September, but not on Aftermath.
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Jimmy Iovine is full of shit.
Aww he got hurt feelings with Busta who propably spoke the truth and kicked him out with bleeding tears. Poor hip hop killing faggot, please don't kill yourself, go eat some pretzels with Birdman.
-
I really hope for Dre that he get out the contract with Interscope after "Detox"
so that he can founds a new label where nobody tell him what he has to do and what not.
....or before ;)
I'm little tired of Aftermath and the whole drama around them, :P
as many has pointed out before,Jimmy interferes too much with the creative side of things.
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped
- if he'd let those albums come out Aftermath would have been in way worse shape...
but instead he put out Eminem and 50 Cent
- you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
The label (and the industry as a whole) got too obsessed with the "block buster mentality" :-\(read; first week sales), :-\
that anything that might get looked as a flop would damage the "block buster legacy" Aftermath got. :P
But I believe that in the long run,releasing some albums that don't have that "block buster stamp" over them would actually benefit them.
Look at Ruthless,Above The Law and Ren´s solo releases was never a big success. Bone Thugs and Eazy took care of the "block buster" numbers.
Never the less Above The Law and Ren´s solo albums was fan favorites that took care of the Ruthless legacy of putting out "quality" music.
Hittman and King T could be one of those type of artists,
as far I'm concerned I think the "unreleased" Hittman and King T album is amongst the top five album from the "Aftermath Camp".
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
I think the Ruthless situation is different - because the big albums Aftermath has put out were also very critically acclaimed... while outside of this forum I don't really know anyone who thinks the unreleased King T or Hittman albums are like WOW - a lot of people have the King T one and most people are like, phew, good thing he didn't put this out, because it's not really that great, and reviews of it were just kind of 'meh'. Also Aftermath spends a lot on promotion, making an expensive video, etc etc - they don't want to lose potentially millions on promoting something that is not going to break even
-
I really hope for Dre that he get out the contract with Interscope after "Detox"
so that he can founds a new label where nobody tell him what he has to do and what not.
....or before ;)
I'm little tired of Aftermath and the whole drama around them, :P
as many has pointed out before,Jimmy interferes too much with the creative side of things.
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped
- if he'd let those albums come out Aftermath would have been in way worse shape...
but instead he put out Eminem and 50 Cent
- you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
The label (and the industry as a whole) got too obsessed with the "block buster mentality" :-\(read; first week sales), :-\
that anything that might get looked as a flop would damage the "block buster legacy" Aftermath got. :P
But I believe that in the long run,releasing some albums that don't have that "block buster stamp" over them would actually benefit them.
Look at Ruthless,Above The Law and Ren´s solo releases was never a big success. Bone Thugs and Eazy took care of the "block buster" numbers.
Never the less Above The Law and Ren´s solo albums was fan favorites that took care of the Ruthless legacy of putting out "quality" music.
Hittman and King T could be one of those type of artists,
as far I'm concerned I think the "unreleased" Hittman and King T album is amongst the top five album from the "Aftermath Camp".
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
I think the Ruthless situation is different - because the big albums Aftermath has put out were also very critically acclaimed... while outside of this forum I don't really know anyone who thinks the unreleased King T or Hittman albums are like WOW - a lot of people have the King T one and most people are like, phew, good thing he didn't put this out, because it's not really that great, and reviews of it were just kind of 'meh'. Also Aftermath spends a lot on promotion, making an expensive video, etc etc - they don't want to lose potentially millions on promoting something that is not going to break even
well if you think about it, they are already flushing millions through the toilet....
-
I really hope for Dre that he get out the contract with Interscope after "Detox"
so that he can founds a new label where nobody tell him what he has to do and what not.
....or before ;)
I'm little tired of Aftermath and the whole drama around them, :P
as many has pointed out before,Jimmy interferes too much with the creative side of things.
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped
- if he'd let those albums come out Aftermath would have been in way worse shape...
but instead he put out Eminem and 50 Cent
- you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
The label (and the industry as a whole) got too obsessed with the "block buster mentality" :-\(read; first week sales), :-\
that anything that might get looked as a flop would damage the "block buster legacy" Aftermath got. :P
But I believe that in the long run,releasing some albums that don't have that "block buster stamp" over them would actually benefit them.
Look at Ruthless,Above The Law and Ren´s solo releases was never a big success. Bone Thugs and Eazy took care of the "block buster" numbers.
Never the less Above The Law and Ren´s solo albums was fan favorites that took care of the Ruthless legacy of putting out "quality" music.
Hittman and King T could be one of those type of artists,
as far I'm concerned I think the "unreleased" Hittman and King T album is amongst the top five album from the "Aftermath Camp".
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
I think the Ruthless situation is different - because the big albums Aftermath has put out were also very critically acclaimed... while outside of this forum I don't really know anyone who thinks the unreleased King T or Hittman albums are like WOW - a lot of people have the King T one and most people are like, phew, good thing he didn't put this out, because it's not really that great, and reviews of it were just kind of 'meh'. Also Aftermath spends a lot on promotion, making an expensive video, etc etc - they don't want to lose potentially millions on promoting something that is not going to break even
well if you think about it, they are already flushing millions through the toilet....
Yeah...Dre could've already released 2 albums and I'm sure they would've had at least good reviews and sold like shit...instead he is trying to model a masterpiece that is now a joke with no buzz and propably will go down as a VERY VERY BIG letdown if it isn't The Chronic like revolution.
And how wouldn't Raekwon sell with Aftermaths backing up? C'mon now, that's ridiculous.
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dre dont wanna tarnish his legacy by puttin somethin out thats not an absolute classic. he shaped the sound of an entire generation of hip hop, not once, twice, but three times!!! think about that. nwa and both chronic albums had everyone followin the leader. he was able to make us forget about been there done that (and if u remember, he was just about done after that) cuz he came with a super classic. but if detox flops, he might be done :(
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Damn, has everyone gone insane? Aftermath is probably in the top 3 greatest HipHop labels ever, and they're easily one of the biggest selling, Eminem, Dre, 50 Cent - those are three of the biggest HipHop artists ever! Who sold big AND are critically acclaimed
Aftermath has sold more records than Death Row by a large margin - 50 sold about 25 million, Eminem about 45 million, Dre sold 6 million of 2001... compared with Death Row selling 3 million of the Chronic, Doggystyle 4 million, and 2Pac about 15 million
Death Row had more 'classic' stuff, though only thanks to Dre anyway... and Eminem's first two records, 2001, and 50's first record are all highly acclaimed
Bad Boy sold a lot, but is a 99% a joke in terms of credibility (apart from Biggie), same with No Limit, they don't have any really classic stuff
The only label that probably beats both Aftermath and Death Row is Def Jam just because they have so many classic records and had such a huge influence in getting HipHop onto the level it is now
I'm probably forgetting some labels off the top of my head, but Aftermath is definitely up there
what about Ruthless?
-
I really hope for Dre that he get out the contract with Interscope after "Detox"
so that he can founds a new label where nobody tell him what he has to do and what not.
....or before ;)
I'm little tired of Aftermath and the whole drama around them, :P
as many has pointed out before,Jimmy interferes too much with the creative side of things.
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped
- if he'd let those albums come out Aftermath would have been in way worse shape...
but instead he put out Eminem and 50 Cent
- you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
The label (and the industry as a whole) got too obsessed with the "block buster mentality" :-\(read; first week sales), :-\
that anything that might get looked as a flop would damage the "block buster legacy" Aftermath got. :P
But I believe that in the long run,releasing some albums that don't have that "block buster stamp" over them would actually benefit them.
Look at Ruthless,Above The Law and Ren´s solo releases was never a big success. Bone Thugs and Eazy took care of the "block buster" numbers.
Never the less Above The Law and Ren´s solo albums was fan favorites that took care of the Ruthless legacy of putting out "quality" music.
Hittman and King T could be one of those type of artists,
as far I'm concerned I think the "unreleased" Hittman and King T album is amongst the top five album from the "Aftermath Camp".
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
yeah aftermath is limiting it's focus to such stars.
they should stop betting on one horse.
-
I really hope for Dre that he get out the contract with Interscope after "Detox"
so that he can founds a new label where nobody tell him what he has to do and what not.
....or before ;)
I'm little tired of Aftermath and the whole drama around them, :P
as many has pointed out before,Jimmy interferes too much with the creative side of things.
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped
- if he'd let those albums come out Aftermath would have been in way worse shape...
but instead he put out Eminem and 50 Cent
- you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
The label (and the industry as a whole) got too obsessed with the "block buster mentality" :-\(read; first week sales), :-\
that anything that might get looked as a flop would damage the "block buster legacy" Aftermath got. :P
But I believe that in the long run,releasing some albums that don't have that "block buster stamp" over them would actually benefit them.
Look at Ruthless,Above The Law and Ren´s solo releases was never a big success. Bone Thugs and Eazy took care of the "block buster" numbers.
Never the less Above The Law and Ren´s solo albums was fan favorites that took care of the Ruthless legacy of putting out "quality" music.
Hittman and King T could be one of those type of artists,
as far I'm concerned I think the "unreleased" Hittman and King T album is amongst the top five album from the "Aftermath Camp".
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
I think the Ruthless situation is different - because the big albums Aftermath has put out were also very critically acclaimed...
while outside of this forum I don't really know anyone who thinks the unreleased King T or Hittman albums are like WOW
- a lot of people have the King T one and most people are like, phew, good thing he didn't put this out,
because it's not really that great, and reviews of it were just kind of 'meh'.
Also Aftermath spends a lot on promotion, making an expensive video, etc etc
- they don't want to lose potentially millions on promoting something that is not going to break even
I said fan favorites ;).
The King T album got average reviews/ratings by both The Source and Rap Pages read; official Hip Hop media.
We could agree or disagree that they´re biased,but that´s another convo that can be continued here;
Open letter to The Source Mag. about your reviews and ratings of West Coast *poll* (http://www.dubcnn.com/connect/index.php?topic=156779.0)
reviews
http://www.dubcnn.com/connect/index.php?topic=150824.msg1640421#msg1640421
King T review in The Source September 1998 NO.108
(http://farm3.static.flickr.com/2301/2157139428_5d0a004b3a_b.jpg)
(http://farm3.static.flickr.com/2205/2157143810_f527b110c4_b.jpg)
If interscope don´t feel that albums from artists such as King T and Hittman ain´t blockbuster material,
don´t spend so much money on promotion,just release it on the low.
Not everything has to be "block buster material".
Related links;
MC Ren reviews (http://www.dubcnn.com/connect/index.php?topic=150824.msg1801004#msg1801004)
Above The Law reviews (http://www.dubcnn.com/connect/index.php?topic=148792.msg1758980#msg1758980)
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
-
I really hope for Dre that he get out the contract with Interscope after "Detox"
so that he can founds a new label where nobody tell him what he has to do and what not.
....or before ;)
I'm little tired of Aftermath and the whole drama around them, :P
as many has pointed out before,Jimmy interferes too much with the creative side of things.
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
Dre didn't bring out King T because it would have flopped, he didn't bring out Hitman because it would have flopped
- if he'd let those albums come out Aftermath would have been in way worse shape...
but instead he put out Eminem and 50 Cent
- you can't argue with the success they've had, they're arguable the two most well know people in HipHop!
Dre didn't decide that, interscope did.
Dre actually wanted to put out a hittman and a King T album :P
The label (and the industry as a whole) got too obsessed with the "block buster mentality" :-\(read; first week sales), :-\
that anything that might get looked as a flop would damage the "block buster legacy" Aftermath got. :P
But I believe that in the long run,releasing some albums that don't have that "block buster stamp" over them would actually benefit them.
Look at Ruthless,Above The Law and Ren´s solo releases was never a big success. Bone Thugs and Eazy took care of the "block buster" numbers.
Never the less Above The Law and Ren´s solo albums was fan favorites that took care of the Ruthless legacy of putting out "quality" music.
Hittman and King T could be one of those type of artists,
as far I'm concerned I think the "unreleased" Hittman and King T album is amongst the top five album from the "Aftermath Camp".
(http://www.clicksmilies.com/s1106/starwars/star-wars-smiley-013.gif)
I think the Ruthless situation is different - because the big albums Aftermath has put out were also very critically acclaimed... while outside of this forum I don't really know anyone who thinks the unreleased King T or Hittman albums are like WOW - a lot of people have the King T one and most people are like, phew, good thing he didn't put this out, because it's not really that great, and reviews of it were just kind of 'meh'. Also Aftermath spends a lot on promotion, making an expensive video, etc etc - they don't want to lose potentially millions on promoting something that is not going to break even
i agree that limiting the damage is better than causing maximum damage,
but let's not forget that several album budgets went to waste, so i don't see why you sort of implied that aftermath is working cost-efficiently.
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I feel that overall, Dre's been successful, but I don't think the legacy of Aftermath has lived up to it's full potential or even 60-70% of it. I think it could have been what Def Jam was and still is, but management wise and talent wise, I feel that the many mistakes that were made will be out-shined by the major accomplishments that the successful artists have had.
I think Aftermath's strength has been at building diamonds in the rough, and taking artists that are virtually unknown or only regionally known and making them into superstars...that's apparent with 50, Em, and Game. However...aside from them and a few others, I feel that the label has fell short in making artists become superstars, whether it's because they never even got to release an album, or because they never had the potential to become a star from the jump. I feel that Aftermath is the type of label that makes sure that every artist that comes through has that "Aftermath" sound to them, whether it fits or not. This is how Death Row, Cash Money, and No Limit functioned...but one reason Def Jam is still seen as the #1 label in history is because they have adapted to the times and the sounds of the artists without having to have a "family trademarked sound" as these other labels. Def Jam let Warren G sound like Warren G, even when no other artists were on the label representing the West.
I think the fact that Dre has to have a major hand in every single project has been a gift and a curse. It's an obvious gift because he's arguably the best executive producer and song producer in rap history...but I can imagine how hard it is to be the producer, AND exec. producer, AND the founder/owner of the label who sees everything. This can create conflicts of interest between him and artists when it comes to their vision, and he basically has the final word on every project that goes through or gets scrapped, which can be good or bad.
I feel that the label now has the stigma of benching and dropping artists to the extent that the label has lost some of it's verbal prestige...meaning that when somebody says "I'm signed to Aftermath," people are like "oh for real? So when you gonna get dropped...oh shit, I mean, when you gonna drop?" I feel this is a direct result of Dre being the "EVERYTHING" at the label...although he still has much help in every area, such as the production/beat making and executive level. Every label has artists that are signed and never put out...but if you look at Aftermath since it's creation 12 years ago, only SEVEN artists have come out and put out albums....with one being Dre himself. Quality is better than quantity...so this may be much better than No Limit putting out 15-20 artists per year....but it is still a far cry from what other labels have done, especially since only 5 of those 7 acts had commercially successful releases and only 3 stayed with the company past the first album (one being Dre himself).
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I feel that overall, Dre's been successful, but I don't think the legacy of Aftermath has lived up to it's full potential or even 60-70% of it. I think it could have been what Def Jam was and still is, but management wise and talent wise, I feel that the many mistakes that were made will be out-shined by the major accomplishments that the successful artists have had.
I think Aftermath's strength has been at building diamonds in the rough, and taking artists that are virtually unknown or only regionally known and making them into superstars...that's apparent with 50, Em, and Game. However...aside from them and a few others, I feel that the label has fell short in making artists become superstars, whether it's because they never even got to release an album, or because they never had the potential to become a star from the jump. I feel that Aftermath is the type of label that makes sure that every artist that comes through has that "Aftermath" sound to them, whether it fits or not. This is how Death Row, Cash Money, and No Limit functioned...but one reason Def Jam is still seen as the #1 label in history is because they have adapted to the times and the sounds of the artists without having to have a "family trademarked sound" as these other labels. Def Jam let Warren G sound like Warren G, even when no other artists were on the label representing the West.
I think the fact that Dre has to have a major hand in every single project has been a gift and a curse. It's an obvious gift because he's arguably the best executive producer and song producer in rap history...but I can imagine how hard it is to be the producer, AND exec. producer, AND the founder/owner of the label who sees everything. This can create conflicts of interest between him and artists when it comes to their vision, and he basically has the final word on every project that goes through or gets scrapped, which can be good or bad.
I feel that the label now has the stigma of benching and dropping artists to the extent that the label has lost some of it's verbal prestige...meaning that when somebody says "I'm signed to Aftermath," people are like "oh for real? So when you gonna get dropped...oh shit, I mean, when you gonna drop?" I feel this is a direct result of Dre being the "EVERYTHING" at the label...although he still has much help in every area, such as the production/beat making and executive level. Every label has artists that are signed and never put out...but if you look at Aftermath since it's creation 12 years ago, only SEVEN artists have come out and put out albums....with one being Dre himself. Quality is better than quantity...so this may be much better than No Limit putting out 15-20 artists per year....but it is still a far cry from what other labels have done, especially since only 5 of those 7 acts had commercially successful releases and only 3 stayed with the company past the first album (one being Dre himself).
I haven't read any replies in this thread, because I noticed R-tistic's thread got merged after the fact, but here's my reply to R-tistic.
I can't question Dre's business ethics when it comes to Aftermath artists getting dropped, but I have a feeling that Dre's boss, Jimmy Iovine has the REAL FINAL SAY in most of these matters. Afterall, if Jimmy don't like it, he don't have to finance it through Interscope. Interscope takes precedence over Aftermath.
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I feel that overall, Dre's been successful, but I don't think the legacy of Aftermath has lived up to it's full potential or even 60-70% of it. I think it could have been what Def Jam was and still is, but management wise and talent wise, I feel that the many mistakes that were made will be out-shined by the major accomplishments that the successful artists have had.
I think Aftermath's strength has been at building diamonds in the rough, and taking artists that are virtually unknown or only regionally known and making them into superstars...that's apparent with 50, Em, and Game. However...aside from them and a few others, I feel that the label has fell short in making artists become superstars, whether it's because they never even got to release an album, or because they never had the potential to become a star from the jump. I feel that Aftermath is the type of label that makes sure that every artist that comes through has that "Aftermath" sound to them, whether it fits or not. This is how Death Row, Cash Money, and No Limit functioned...but one reason Def Jam is still seen as the #1 label in history is because they have adapted to the times and the sounds of the artists without having to have a "family trademarked sound" as these other labels. Def Jam let Warren G sound like Warren G, even when no other artists were on the label representing the West.
I think the fact that Dre has to have a major hand in every single project has been a gift and a curse. It's an obvious gift because he's arguably the best executive producer and song producer in rap history...but I can imagine how hard it is to be the producer, AND exec. producer, AND the founder/owner of the label who sees everything. This can create conflicts of interest between him and artists when it comes to their vision, and he basically has the final word on every project that goes through or gets scrapped, which can be good or bad.
I feel that the label now has the stigma of benching and dropping artists to the extent that the label has lost some of it's verbal prestige...meaning that when somebody says "I'm signed to Aftermath," people are like "oh for real? So when you gonna get dropped...oh shit, I mean, when you gonna drop?" I feel this is a direct result of Dre being the "EVERYTHING" at the label...although he still has much help in every area, such as the production/beat making and executive level. Every label has artists that are signed and never put out...but if you look at Aftermath since it's creation 12 years ago, only SEVEN artists have come out and put out albums....with one being Dre himself. Quality is better than quantity...so this may be much better than No Limit putting out 15-20 artists per year....but it is still a far cry from what other labels have done, especially since only 5 of those 7 acts had commercially successful releases and only 3 stayed with the company past the first album (one being Dre himself).
I haven't read any replies in this thread, because I noticed R-tistic's thread got merged after the fact, but here's my reply to R-tistic.
I can't question Dre's business ethics when it comes to Aftermath artists getting dropped, but I have a feeling that Dre's boss, Jimmy Iovine has the REAL FINAL SAY in most of these matters. Afterall, if Jimmy don't like it, he don't have to finance it through Interscope. Interscope takes precedence over Aftermath.
Even more now when Jimmy owns the whole label. More artists began to drop (who would've though Busta would get dropped).
I'm surprised Jimmy haven't said to Dre that drop or get dropped (well can't know for sure).
If Detox/Em-album won't get released in 2 years, then pretty much the label should be shutdown since none other artist will be released without them backing up with features.
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I feel that overall, Dre's been successful, but I don't think the legacy of Aftermath has lived up to it's full potential or even 60-70% of it. I think it could have been what Def Jam was and still is, but management wise and talent wise, I feel that the many mistakes that were made will be out-shined by the major accomplishments that the successful artists have had.
I think Aftermath's strength has been at building diamonds in the rough, and taking artists that are virtually unknown or only regionally known and making them into superstars...that's apparent with 50, Em, and Game. However...aside from them and a few others, I feel that the label has fell short in making artists become superstars, whether it's because they never even got to release an album, or because they never had the potential to become a star from the jump. I feel that Aftermath is the type of label that makes sure that every artist that comes through has that "Aftermath" sound to them, whether it fits or not. This is how Death Row, Cash Money, and No Limit functioned...but one reason Def Jam is still seen as the #1 label in history is because they have adapted to the times and the sounds of the artists without having to have a "family trademarked sound" as these other labels. Def Jam let Warren G sound like Warren G, even when no other artists were on the label representing the West.
I think the fact that Dre has to have a major hand in every single project has been a gift and a curse. It's an obvious gift because he's arguably the best executive producer and song producer in rap history...but I can imagine how hard it is to be the producer, AND exec. producer, AND the founder/owner of the label who sees everything. This can create conflicts of interest between him and artists when it comes to their vision, and he basically has the final word on every project that goes through or gets scrapped, which can be good or bad.
I feel that the label now has the stigma of benching and dropping artists to the extent that the label has lost some of it's verbal prestige...meaning that when somebody says "I'm signed to Aftermath," people are like "oh for real? So when you gonna get dropped...oh shit, I mean, when you gonna drop?" I feel this is a direct result of Dre being the "EVERYTHING" at the label...although he still has much help in every area, such as the production/beat making and executive level. Every label has artists that are signed and never put out...but if you look at Aftermath since it's creation 12 years ago, only SEVEN artists have come out and put out albums....with one being Dre himself. Quality is better than quantity...so this may be much better than No Limit putting out 15-20 artists per year....but it is still a far cry from what other labels have done, especially since only 5 of those 7 acts had commercially successful releases and only 3 stayed with the company past the first album (one being Dre himself).
Def Jam and Aftermath are not the same type of labels so i don't think the comparison is even worth making. Now seems like the hot moment to underride Dre's current situation and accomplishments but Aftermath is still relevant after over a decade. Thier future may be questionable but they are doing better than Death Row after Interscope stepped away and stand to do better than Ruthless once N.W.A. was no more. The fact that they are still around given the state of the music industry actually says something. No artists on Death Row or Ruthless before or after Dre left either had their own sublabels like G-Unit or Shady. Which labels is it a far cry from? Name some of these labels that have two or three stars whose are bigger names than their C.E.O./producer without him throwing his shit all over their projects. Diddy has never played the background long enough to pull a 50 Cent or Eminem or even Game. His whole label revolves around him and his publicity stunts. All of the releases at Doggystyle are groups presented by and featuring Snoop. Roc-A-Fella? G-Unit? Murder Inc? All partly run by the biggest act on the label. Only one of them still has a major household name superstar still on the label that doesn't have an owning interest in the company. Seven artists is nothing to look down at. There are maybe four labels around that are in the same league as Aftermath and only two have been around as long. Say what you will but his reign at Aftermath has been longer and more succesful than the ones at Death Row and Ruthless. The guy is doing something right.
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why does everybody keep sayin the marshal mathers lp was a classic from eminem??? i thought the slim shady lp was way doper...
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I can't question Dre's business ethics when it comes to Aftermath artists getting dropped,
but I have a feeling that Dre's boss,Jimmy Iovine has the REAL FINAL SAY in most of these matters.
Afterall, if Jimmy don't like it, he don't have to finance it through Interscope. Interscope takes precedence over Aftermath.
Even more now when Jimmy owns the whole label. More artists began to drop (who would've though Busta would get dropped).
I'm surprised Jimmy haven't said to Dre that drop or get dropped (well can't know for sure).
If Detox/Em-album won't get released in 2 years,
then pretty much the label should be shutdown since none other artist will be released without them backing up with features.
Aftermath was started as a joint venture between Dre and Interscope.
Does that mean Interscope owned 50% of Aftermath or they were just entitled to 50% of the profits?
Dre sold 30% of his share to Interscope a while back so that means he either currently owns 20% or 80% of Aftermath.
How much of Aftermath does Jimmy actually own?
I've read everything from 50 to 100% :P (can a official source/site confirm the numbers?)
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Aftermath was started as a joint venture between Dre and Interscope.
Does that mean Interscope owned 50% of Aftermath or they were just entitled to 50% of the profits?
Dre sold 30% of his share to Interscope a while back so that means he either currently owns 20% or 80% of Aftermath.
yeah it started as a joint feature; Dre had 30%.
not sure if interscope fully owned 70% as i'm not aware of any other stockholders.
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I feel that overall, Dre's been successful, but I don't think the legacy of Aftermath has lived up to it's full potential or even 60-70% of it. I think it could have been what Def Jam was and still is, but management wise and talent wise, I feel that the many mistakes that were made will be out-shined by the major accomplishments that the successful artists have had.
I think Aftermath's strength has been at building diamonds in the rough, and taking artists that are virtually unknown or only regionally known and making them into superstars...that's apparent with 50, Em, and Game. However...aside from them and a few others, I feel that the label has fell short in making artists become superstars, whether it's because they never even got to release an album, or because they never had the potential to become a star from the jump. I feel that Aftermath is the type of label that makes sure that every artist that comes through has that "Aftermath" sound to them, whether it fits or not. This is how Death Row, Cash Money, and No Limit functioned...but one reason Def Jam is still seen as the #1 label in history is because they have adapted to the times and the sounds of the artists without having to have a "family trademarked sound" as these other labels. Def Jam let Warren G sound like Warren G, even when no other artists were on the label representing the West.
I think the fact that Dre has to have a major hand in every single project has been a gift and a curse. It's an obvious gift because he's arguably the best executive producer and song producer in rap history...but I can imagine how hard it is to be the producer, AND exec. producer, AND the founder/owner of the label who sees everything. This can create conflicts of interest between him and artists when it comes to their vision, and he basically has the final word on every project that goes through or gets scrapped, which can be good or bad.
I feel that the label now has the stigma of benching and dropping artists to the extent that the label has lost some of it's verbal prestige...meaning that when somebody says "I'm signed to Aftermath," people are like "oh for real? So when you gonna get dropped...oh shit, I mean, when you gonna drop?" I feel this is a direct result of Dre being the "EVERYTHING" at the label...although he still has much help in every area, such as the production/beat making and executive level. Every label has artists that are signed and never put out...but if you look at Aftermath since it's creation 12 years ago, only SEVEN artists have come out and put out albums....with one being Dre himself. Quality is better than quantity...so this may be much better than No Limit putting out 15-20 artists per year....but it is still a far cry from what other labels have done, especially since only 5 of those 7 acts had commercially successful releases and only 3 stayed with the company past the first album (one being Dre himself).
Def Jam and Aftermath are not the same type of labels so i don't think the comparison is even worth making. Now seems like the hot moment to underride Dre's current situation and accomplishments but Aftermath is still relevant after over a decade. Thier future may be questionable but they are doing better than Death Row after Interscope stepped away and stand to do better than Ruthless once N.W.A. was no more. The fact that they are still around given the state of the music industry actually says something. No artists on Death Row or Ruthless before or after Dre left either had their own sublabels like G-Unit or Shady. Which labels is it a far cry from? Name some of these labels that have two or three stars whose are bigger names than their C.E.O./producer without him throwing his shit all over their projects. Diddy has never played the background long enough to pull a 50 Cent or Eminem or even Game. His whole label revolves around him and his publicity stunts. All of the releases at Doggystyle are groups presented by and featuring Snoop. Roc-A-Fella? G-Unit? Murder Inc? All partly run by the biggest act on the label. Only one of them still has a major household name superstar still on the label that doesn't have an owning interest in the company. Seven artists is nothing to look down at. There are maybe four labels around that are in the same league as Aftermath and only two have been around as long. Say what you will but his reign at Aftermath has been longer and more succesful than the ones at Death Row and Ruthless. The guy is doing something right.
I think my post can be seen as being a knock at Dre, possibly because the tone sounds negative...when I was really just speaking on how I feel Aftermath could have been even more successful than it already has been.
Of course, Dre did a LOT right...I wouldn't even want to compare Snoop's Dogghouse/Doggystyle or the labels that many other artists have started to Aftermath, and he has arguably had one of the three most dominant record labels in history. I just spoke to say that he could have possibly surpassed Def Jam and that the label had potential to be even stronger than it is...and personally, a lot of the artists he's signed have been very questionable to me.
I do feel that their reign has been much longer than Death Rows, even if no 3-4 year period can touch the 3-4 amazing years Death Row had at on point, and it's much stronger than Ruthless with no question....so I wouldn't even spend time comparing it to those. I compared it most to Def Jam, because they are like the landmark label in Hip Hop that set the most standards and is still a major powerhouse.
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I think my post can be seen as being a knock at Dre, possibly because the tone sounds negative...when I was really just speaking on how I feel Aftermath could have been even more successful than it already has been.
Of course, Dre did a LOT right...I wouldn't even want to compare Snoop's Dogghouse/Doggystyle or the labels that many other artists have started to Aftermath, and he has arguably had one of the three most dominant record labels in history. I just spoke to say that he could have possibly surpassed Def Jam and that the label had potential to be even stronger than it is...and personally, a lot of the artists he's signed have been very questionable to me.
I do feel that their reign has been much longer than Death Rows, even if no 3-4 year period can touch the 3-4 amazing years Death Row had at on point, and it's much stronger than Ruthless with no question....so I wouldn't even spend time comparing it to those. I compared it most to Def Jam, because they are like the landmark label in Hip Hop that set the most standards and is still a major powerhouse.
[/quote]
Aftermath could never had been Def Jam. To be honest, I think it's bigger than it probably ever should have been. Dre is at his core an artist/producer. Not a CEO or businessman. There is no Dame Dash to his Jay or Irv Gotti to his Ja. For any new artist to break over there, there is a huge level of Dre involvement expected from the fan base. He's counted on to produce the music and deal with Jimmy at the same time. When you look at the fact that Dre doesn't cling to the spotlight like the other label bosses, it actually makes what he's done that more impressive.
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Aftermath statistics... (http://www.dubcnn.com/connect/index.php?topic=194516.msg1978838#msg1978838)
20 artists have officially been signed to Aftermath in the last 10 years. Out of those 20,only 6 have released an album under Aftermath.
Hittman - 10 guest appearances on "2001", wrote Dre's verse on "The Next Episode"
Years Signed - 3
Albums Released - 0
Rakim - guest appeared on Truth Hurts "Addictive" & Jay-Z's "The Watcher 2"
Years Signed - 3
Albums Released - 0 ( "Oh My God" shelved )
Antonio
Years Signed - 1
Albums Released - 0
Truth Hurts - had a top 10 hit with "Addictive", released her debut album on Aftermath
Years Signed - 3
Albums Released - 1 ( later pulled off shelves due to lawsuit over "Addictive" )
Shaunta - appeared on "The Wash" & "8 Mile" soundtracks
Years Signed - 2
Albums Released - 0
Joe Beast - appeared on "The Wash" & "8 Mile" soundtracks
Years Signed - 2
Albums Released - 0
Brooklyn - appeared on 50 Cent's "In Da Hood"
Years Signed - 1
Albums Released - 0
The Game - first signed to Aftermath in, later co-signed with G-Unit and dropped
"The Documentary"
Years Signed - 4
Albums Released - 1
G.A.G.E.
Years Signed - 1
Albums Released - 0
Joell Ortiz
Years Signed - 1
Albums Released - 0
Dion - originally Hi-Tek's protege, appeared on Game's "Documentary" & 50's "Massacre"
Years Signed - 1
Albums Released - 0
Tiffany Villarreal
Years Signed - 1
Albums Released - 0
Eve - Dre produced on 2 of her non-Aftermath albums, featured on Mary J Blige's "Not Today" and Gwen Stefani's "Rich Girl"
Years Signed - 4
Albums Released - 0 ( "Here I Am" shelved )
Busta Rhymes - signed in 2004, dropped one album and scheduled to drop follow up before leaving the label.
Years Signed - 4
Albums Released - 1 ( "Blessed" shelved )
Stat Quo - guest appeared on Eminem's "Encore",
Young Buck's "Straight Outta Cashville" and the Re-Up album. Dropped "Like Dat" as a buzz single,
later planned on releasing "Get Low" as a single before dropping "Here We Go". Statlanta pushed back 328 times.
Years Signed - 5
Albums Released - 0 ( "Statlanta" shelved )
Marsha Ambrosius - guest spots on Game's "Documentary" and Busta's "Big Bang"
Years Signed - 2
Albums Released - 0
Bishop Lamont - dropped "Grow Up" as the offical single off his debut, "The Reformation"
Years Signed - 3
Albums Released - 0 ( "The Reformation" pending... )
50 Cent - released 3 albums on Shady\Aftermath
Years Signed - 5
Albums Released - 3 ( "Before I Self Destruct" pending... )
Eminem - released 4 studio albums on Aftermath, 5 including "Curtain Call: The Hits"
Years Signed - 10
Albums Released - 5 ( "King Mathers" pending... )
Dr. Dre - founder, CEO of Aftermath Entertainment, dropped "2001" 9 years ago
Years Signed - 12
Albums Released 1 ( "Look out for Detox" )
Stat Quo is pretty much finished, and there's word Bishop is as well. That label is on some voodoo shit.
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its still hard to understand why the album was never released by Aftermath.
There are SOME weak joints but the album as a whole is bangin'.
I can understand why they choose not to release it before the label blew up but they f**ked themselves
BY GOING AFTER ONLY THE BIG SELLERS.
I might be no business man but releasing T and Hitt
WOULD HAVE KEPT THE LABEL'S CREDIBILITY ALIVE WHICH IN LONG TERM MAINTAINS SALES.
They would NOT have sold like 50 and Em but it would have allowed the label to SURVIVE ON TWO LEVELS with GOOD music and the BIG sales provided by Em and 50. Can't fault them for just chasing paper but all these G-Unit and Shady affiliations and wak albums has made Aftermath a bit of a joke.
You got some good points,they need some credibility artists/albums not only big sellers that the streets don't respect. Bishop and Detox might restore some much needed credibility back to label.
I blame Jimmy for fuckin' up the label.
At least both King T and Hittman leaked,so we the die hard fans can enjoy them. It's Aftermath's loss.
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-That they signed and dropped/let go a whole gang of artists,song writers and producers.
-Having the biggest vault of unreleased music.
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Well compared to how many people were signed to Death Row Records and never put out an album or even songs, it's not that bad.
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Aftermath statistics... (http://www.dubcnn.com/connect/index.php?topic=194516.msg1978838#msg1978838)
20 artists have officially been signed to Aftermath in the last 10 years. Out of those 20,only 6 have released an album under Aftermath.
Hittman - 10 guest appearances on "2001", wrote Dre's verse on "The Next Episode"
Years Signed - 3
Albums Released - 0
Rakim - guest appeared on Truth Hurts "Addictive" & Jay-Z's "The Watcher 2"
Years Signed - 3
Albums Released - 0 ( "Oh My God" shelved )
Antonio
Years Signed - 1
Albums Released - 0
Truth Hurts - had a top 10 hit with "Addictive", released her debut album on Aftermath
Years Signed - 3
Albums Released - 1 ( later pulled off shelves due to lawsuit over "Addictive" )
Shaunta - appeared on "The Wash" & "8 Mile" soundtracks
Years Signed - 2
Albums Released - 0
Joe Beast - appeared on "The Wash" & "8 Mile" soundtracks
Years Signed - 2
Albums Released - 0
Brooklyn - appeared on 50 Cent's "In Da Hood"
Years Signed - 1
Albums Released - 0
The Game - first signed to Aftermath in, later co-signed with G-Unit and dropped
"The Documentary"
Years Signed - 4
Albums Released - 1
G.A.G.E.
Years Signed - 1
Albums Released - 0
Joell Ortiz
Years Signed - 1
Albums Released - 0
Dion - originally Hi-Tek's protege, appeared on Game's "Documentary" & 50's "Massacre"
Years Signed - 1
Albums Released - 0
Tiffany Villarreal
Years Signed - 1
Albums Released - 0
Eve - Dre produced on 2 of her non-Aftermath albums, featured on Mary J Blige's "Not Today" and Gwen Stefani's "Rich Girl"
Years Signed - 4
Albums Released - 0 ( "Here I Am" shelved )
Busta Rhymes - signed in 2004, dropped one album and scheduled to drop follow up before leaving the label.
Years Signed - 4
Albums Released - 1 ( "Blessed" shelved )
Stat Quo - guest appeared on Eminem's "Encore",
Young Buck's "Straight Outta Cashville" and the Re-Up album. Dropped "Like Dat" as a buzz single,
later planned on releasing "Get Low" as a single before dropping "Here We Go". Statlanta pushed back 328 times.
Years Signed - 5
Albums Released - 0 ( "Statlanta" shelved )
Marsha Ambrosius - guest spots on Game's "Documentary" and Busta's "Big Bang"
Years Signed - 2
Albums Released - 0
Bishop Lamont - dropped "Grow Up" as the offical single off his debut, "The Reformation"
Years Signed - 3
Albums Released - 0 ( "The Reformation" pending... )
50 Cent - released 3 albums on Shady\Aftermath
Years Signed - 5
Albums Released - 3 ( "Before I Self Destruct" pending... )
Eminem - released 4 studio albums on Aftermath, 5 including "Curtain Call: The Hits"
Years Signed - 10
Albums Released - 5 ( "King Mathers" pending... )
Dr. Dre - founder, CEO of Aftermath Entertainment, dropped "2001" 9 years ago
Years Signed - 12
Albums Released 1 ( "Look out for Detox" )
Stat Quo is pretty much finished, and there's word Bishop is as well. That label is on some voodoo shit.
Does anyone know of any songs from "Antonio" "Joe Beast" "Brooklyn" "G.A.G.E." 0r "Joell Ortiz" that are produce by Dre or do they have any mixtapes?
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Joe Beast had that "Gangsta" joint with the Snoop Dogg sample in it, the beat was dope as hell. I think it was produced by Dr. Dre & Mel-Man, and i think originally the beat for 50 Cent's "In Da Hood" was supposed to be for him. I remember somebody posted the song here but i never downloaded it or even heard it.
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I think the first compilation, then Dre's HUGE 2001 release. Then Eminem, and the start of 50 Cent
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Dion was signed to Aftermath? There is someone who I think Dre should really be fucking with. His stuff that he does with Hi-Tek is how I feel music should sound in 2009.
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G.A.G.E. had that joint with Akon produced by Dre? http://www.youtube.com/watch?v=b9lSqsFroW8
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G.A.G.E. had that joint with Akon produced by Dre? http://www.youtube.com/watch?v=b9lSqsFroW8
no listen its produced by akon
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G.A.G.E. had that joint with Akon produced by Dre? http://www.youtube.com/watch?v=b9lSqsFroW8
no listen its produced by akon
That song is amazing. Did it come out on an album or mixtape?
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G.A.G.E. had that joint with Akon produced by Dre? http://www.youtube.com/watch?v=b9lSqsFroW8
no listen its produced by akon
Really? How do you know that?
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G.A.G.E. had that joint with Akon produced by Dre? http://www.youtube.com/watch?v=b9lSqsFroW8
no listen its produced by akon
That song is amazing. Did it come out on an album or mixtape?
Was just an internet leak I'm pretty sure
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g.a.g.e. did drop a track on what sounded much more like a dre beat (Move) and a couple of tight storch joints too...
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aftermath was just a 2 man label, Dre and EM. I guess you could throw in 50 in there
Game was also a massive hit for them, but in terms of Aftermath only artists it was just Dre
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g.a.g.e. did drop a track on what sounded much more like a dre beat (Move) and a couple of tight storch joints too...
Could u post them?
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aftermath was just a 2 man label, Dre and EM. I guess you could throw in 50 in there
Game was also a massive hit for them, but in terms of Aftermath only artists it was just Dre
Im sure Dre regrets keeping 50 instead of Game
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aftermath was just a 2 man label, Dre and EM. I guess you could throw in 50 in there
Game was also a massive hit for them, but in terms of Aftermath only artists it was just Dre
Im sure Dre regrets keeping 50 instead of Game
Whats the basis of that? 50 stays out selling Game, his last album didn't even go platinum.
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aftermath was just a 2 man label, Dre and EM. I guess you could throw in 50 in there
Game was also a massive hit for them, but in terms of Aftermath only artists it was just Dre
Im sure Dre regrets keeping 50 instead of Game
Whats the basis of that? 50 stays out selling Game, his last album didn't even go platinum.
The Doctors Advocate & L.A.X. were a lot better than Curtis. Plus 50 even said it himself that Dre doesnt want to work with him anymore.
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G.A.G.E. had that joint with Akon produced by Dre? http://www.youtube.com/watch?v=b9lSqsFroW8
no listen its produced by akon
That song is amazing. Did it come out on an album or mixtape?
Was just an internet leak I'm pretty sure
They mention in the interview that its produce by Akon
http://www.djbooth.net/index/interviews/entry/gage-money-interview/
Its an old interview but he talks about working on a lot of stuff. Does anyone know if any of it came out? like the tracks with cool & dre?
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The Doctors Advocate & L.A.X. were a lot better than Curtis. Plus 50 even said it himself that Dre doesnt want to work with him anymore.
Yeah, but it's all about that money. Dr. Dre don't have the time to be workin' with 50 because he workin' on "Detox".
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The Doctors Advocate & L.A.X. were a lot better than Curtis. Plus 50 even said it himself that Dre doesnt want to work with him anymore.
Yeah, but it's all about that money. Dr. Dre don't have the time to be workin' with 50 because he workin' on "Detox".
Yea so hopefully when he drops Detox we will see a lot of rappers with Detox leftover beats
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Damn, has everyone gone insane? Aftermath is probably in the top 3 greatest HipHop labels ever, and they're easily one of the biggest selling, Eminem, Dre, 50 Cent - those are three of the biggest HipHop artists ever! Who sold big AND are critically acclaimed
Aftermath has sold more records than Death Row by a large margin - 50 sold about 25 million, Eminem about 45 million, Dre sold 6 million of 2001... compared with Death Row selling 3 million of the Chronic, Doggystyle 4 million, and 2Pac about 15 million
Death Row had more 'classic' stuff, though only thanks to Dre anyway... and Eminem's first two records, 2001, and 50's first record are all highly acclaimed
Bad Boy sold a lot, but is a 99% a joke in terms of credibility (apart from Biggie), same with No Limit, they don't have any really classic stuff
The only label that probably beats both Aftermath and Death Row is Def Jam just because they have so many classic records and had such a huge influence in getting HipHop onto the level it is now
I'm probably forgetting some labels off the top of my head, but Aftermath is definitely up there
Chronic sold 4 milliion, Doggystyle sold 5 million. and that was as of 1996 since then maybe add another mill or 2 plus world wide sales
other than that your post is spot on
The sad thing is Aftermath couldve been bigger. There were numerous situations (esp since 2005 onward) that Aftermath screwed up.
Busta's album took ages to make, then when it had its first hype single, buzz was high.....then it was delayed some say coz Dre wanted to mix it better others say due to Jimmy. While it still did decent it wasnt the big bang it could've been, esp after Dre and busta having good chemistry on his non Aftermath album Genesis.
The Game had a huge buzz and yes it was mainly due to Game and 50's own buttheadedness it didnt work out, but as Dre's former right hand man said, when 50 pulled that shit at the How We Do video shoot he should've stepped in and took care of business. Regardless what you think of Game, he still was one of the biggest rappers ever on there
Hittman had some buzz goin on after 2001....not as big as Snoops after The Chronic but enough to sell a platinum record or 2. Instead he wasnt taken on the Up In Smoke tour, which would've gave him even more buzz. And Dre apparently just wasnt around to work with Hitt as much
Eve was already a name in the Game and had prior success with Dre produced singles. Instead she was shelved for her time in Aftermath. Rakim as well
Proof was probably the only other D12'er who could possibly have had a success solo career.
Obie did well 1st album but 2nd album had zero promotion thus he departed
Considering how much Dre worked with him Xzibit should've been officially signed to Aftermath. Maybe even Snoop or Nate as well. Cube having a solo done by Dre would've been great.
Bishop had a little bit of buzz, not nearly as much as Game did but if put on a single or feature on 50 or Em's albums it may have helped the reformation get some great buzz.
Truth Hurts had a decent 1st single buzz but unfortunately it didnt work out, maybe lack of promotion who knows
So yes, Aftermath has had alot more success than many other labels. But you always just think bout how things could've been even bigger. Scary thought
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The Game had a huge buzz and yes it was mainly due to Game and 50's own buttheadedness it didnt work out, but as Dre's former right hand man said, when 50 pulled that shit at the How We Do video shoot he should've stepped in and took care of business. Regardless what you think of Game, he still was one of the biggest rappers ever on there
What do you mean? What happened?
ThaFormula.com - How was The Up In Smoke Tour for you?
Hittman - It was incredible. A good experience. I learned alot, I saw alot. It gave me more fuel for my album.
Hittman had some buzz goin on after 2001....not as big as Snoops after The Chronic but enough to sell a platinum record or 2. Instead he wasnt taken on the Up In Smoke tour, which would've gave him even more buzz. And Dre apparently just wasnt around to work with Hitt as much
ThaFormula.com - How was The Up In Smoke Tour for you?
Hittman - It was incredible. A good experience. I learned alot, I saw alot. It gave me more fuel for my album.
I have an old VHS tape somewhere and it has an MTV Special about the "Up In Smoke" tour and there's a bit of footage where they perfom "Bitch Please II" and Hittman is on the stage with Dr. Dre, Snoop Dogg, Eminem and a lot of others, so i don't understand why you think he wasn't there?
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^^^I remember an interview with Hittman where he said himself that he wasen't on the Up In Smoke tour cause he wanted to work on his album.. maybe that interview was fake?
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Damn, has everyone gone insane? Aftermath is probably in the top 3 greatest HipHop labels ever, and they're easily one of the biggest selling, Eminem, Dre, 50 Cent - those are three of the biggest HipHop artists ever! Who sold big AND are critically acclaimed
Aftermath has sold more records than Death Row by a large margin - 50 sold about 25 million, Eminem about 45 million, Dre sold 6 million of 2001... compared with Death Row selling 3 million of the Chronic, Doggystyle 4 million, and 2Pac about 15 million
Death Row had more 'classic' stuff, though only thanks to Dre anyway... and Eminem's first two records, 2001, and 50's first record are all highly acclaimed
Bad Boy sold a lot, but is a 99% a joke in terms of credibility (apart from Biggie), same with No Limit, they don't have any really classic stuff
The only label that probably beats both Aftermath and Death Row is Def Jam just because they have so many classic records and had such a huge influence in getting HipHop onto the level it is now
I'm probably forgetting some labels off the top of my head, but Aftermath is definitely up there
Chronic sold 4 milliion, Doggystyle sold 5 million. and that was as of 1996 since then maybe add another mill or 2 plus world wide sales
other than that your post is spot on
The sad thing is Aftermath couldve been bigger. There were numerous situations (esp since 2005 onward) that Aftermath screwed up.
Busta's album took ages to make, then when it had its first hype single, buzz was high.....then it was delayed some say coz Dre wanted to mix it better others say due to Jimmy. While it still did decent it wasnt the big bang it could've been, esp after Dre and busta having good chemistry on his non Aftermath album Genesis.
The Game had a huge buzz and yes it was mainly due to Game and 50's own buttheadedness it didnt work out, but as Dre's former right hand man said, when 50 pulled that shit at the How We Do video shoot he should've stepped in and took care of business. Regardless what you think of Game, he still was one of the biggest rappers ever on there
Hittman had some buzz goin on after 2001....not as big as Snoops after The Chronic but enough to sell a platinum record or 2. Instead he wasnt taken on the Up In Smoke tour, which would've gave him even more buzz. And Dre apparently just wasnt around to work with Hitt as much
Eve was already a name in the Game and had prior success with Dre produced singles. Instead she was shelved for her time in Aftermath. Rakim as well
Proof was probably the only other D12'er who could possibly have had a success solo career.
Obie did well 1st album but 2nd album had zero promotion thus he departed
Considering how much Dre worked with him Xzibit should've been officially signed to Aftermath. Maybe even Snoop or Nate as well. Cube having a solo done by Dre would've been great.
Bishop had a little bit of buzz, not nearly as much as Game did but if put on a single or feature on 50 or Em's albums it may have helped the reformation get some great buzz.
Truth Hurts had a decent 1st single buzz but unfortunately it didnt work out, maybe lack of promotion who knows
So yes, Aftermath has had alot more success than many other labels. But you always just think bout how things could've been even bigger. Scary thought
Thats what happens when the main person of the label is concerned more with himself and his albums then the other artists. Its a shame cuz if u really think about it Aftermath could of been so much more and become the label with the most talent. Having Dre is a gift and a curse.
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^^^I remember an interview with Hittman where he said himself that he wasen't on the Up In Smoke tour cause he wanted to work on his album.. maybe that interview was fake?
I remember Hittman saying he only wanted to be on the west cost shows and then go back to work on his album so when Dre came back it would be done but he was told he had to be on tour
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G.A.G.E. had that joint with Akon produced by Dre? http://www.youtube.com/watch?v=b9lSqsFroW8
no listen its produced by akon
Really? How do you know that?
think about it or listen to the track
or Blown Away (Feat. Styles P) sound a little bit like dre but isnt a dre production
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The Game had a huge buzz and yes it was mainly due to Game and 50's own buttheadedness it didnt work out, but as Dre's former right hand man said, when 50 pulled that shit at the How We Do video shoot he should've stepped in and took care of business. Regardless what you think of Game, he still was one of the biggest rappers ever on there
What do you mean? What happened?
ThaFormula.com - How was The Up In Smoke Tour for you?
Hittman - It was incredible. A good experience. I learned alot, I saw alot. It gave me more fuel for my album.
Hittman had some buzz goin on after 2001....not as big as Snoops after The Chronic but enough to sell a platinum record or 2. Instead he wasnt taken on the Up In Smoke tour, which would've gave him even more buzz. And Dre apparently just wasnt around to work with Hitt as much
ThaFormula.com - How was The Up In Smoke Tour for you?
Hittman - It was incredible. A good experience. I learned alot, I saw alot. It gave me more fuel for my album.
I have an old VHS tape somewhere and it has an MTV Special about the "Up In Smoke" tour and there's a bit of footage where they perfom "Bitch Please II" and Hittman is on the stage with Dr. Dre, Snoop Dogg, Eminem and a lot of others, so i don't understand why you think he wasn't there?
News to me, cause i cant remember seeing him on the dvd of it. Been a while since i've seen it though
As far as 50 Game situation goes
http://www.hiphopdx.com/index/features/id.1129/title.bruce-williams-the-real-doctors-advocate-pt-3/p.2
“’You know what?' asked Busta Rhymes after taking in one particularly take, ‘When you’re rappin’, sometimes your shit is just so borderline disrespectful. I mean you really take it there!’
Everyone busted out laughing.
That’s what’s great about The Game. And that’s his problem too. His 2004 album, The Documentary, is the sound of someone struggling to keep up with the talent around him. He didn’t always respect his place in the process…” – pg 140
DX: So back to 50 Cent and Game. How real was this beef?
BW: Game and 50 wasn’t cool with that situation from jump. Jimmy Iovine was the one who was the brainchild of putting Game in G-Unit because that gave G-Unit a bigger presence on the west coast, plus Game had a bigger buzz on the east than the west at the time. So that way Game could ride with G-Unit and vice versa. Just for bigger album sales.
But you gotta understand that Lloyd Banks and Tony Yayo were soldiers for 50. Game already had a deal with Aftermath. Game already had his own people. Game and 50 are very similar in their ways, and never really did like each other. But they understood the game. 50 gave Game a few of his songs for Game’s album and those were Game’s biggest hits. [50 Cent] did the hooks. But 50 wanted Game to be a soldier and Game did not want to be a soldier. That’s just the way it was. 50 wanted to be the boss.
You gotta think about the timing of all this. At one time, everyone was talking about Game. 50 was pushing up his album. All the beef stuff was a little orchestration of jealousy.
The video for “This Is How We Do” was supposed to be like this: one side of the street would be Cali and the other side would be New York. 50’s on one side and Game would be on the other. 50 didn’t want to do the video. Reason why? [50 Cent said] “Game wasn’t on my level if people see me and Game doing a video together they will think that he’s on my level.”
DX: Damn…
BW: I felt Dre should have stepped up to the plate on that. He’s the icon, he could have shut that whole thing down. Sometimes you have to take that role. But if you don’t, the beef is going to go where it’s going to go.
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News to me, cause i cant remember seeing him on the dvd of it. Been a while since i've seen it though
Hittman wasn't on the DVD, i can't remember seein' him in it but do you know how much material that DVD is missin'?
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News to me, cause i cant remember seeing him on the dvd of it. Been a while since I've seen it though
Hittman wasn't on the DVD, i can't remember seeing' him in it but do you know how much material that DVD is missing'?
I know.... :P I was at their 3rd show of the tour at the Arrowhead Pond of Anaheim.
Hittman was MIA.
Lots of shit is missing.... :-[
(http://farm3.static.flickr.com/2165/2156012188_145b19f8e7_b.jpg)
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I remember reading he left the tour early to go back and finish off his album, but I guess that didn't go to well for him lol
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aftermath was just a 2 man label, Dre and EM. I guess you could throw in 50 in there
Game was also a massive hit for them, but in terms of Aftermath only artists it was just Dre
Im sure Dre regrets keeping 50 instead of Game
Whats the basis of that? 50 stays out selling Game, his last album didn't even go platinum.
The Doctors Advocate & L.A.X. were a lot better than Curtis. Plus 50 even said it himself that Dre doesnt want to work with him anymore.
right, that's why he has Dre on his mixtape :laugh:
The Doctors Advocate & L.A.X. were a lot better than Curtis. Plus 50 even said it himself that Dre doesnt want to work with him anymore.
Yeah, but it's all about that money. Dr. Dre don't have the time to be workin' with 50 because he workin' on "Detox".
you're kidding right? i don't know what Dre is doing right now, but not too long ago he went in the studio with 50 cent for Before i self destruct